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How it begins. . .

I make a drawing in India ink on big rolls of paper. I may have a basic size, shape or style of mark-making in mind, but the process is very free-form and intuitive. (photo: Catrina Genovese)

Then I start cutting out the white parts between the lines. Each cut determines the next cut. (photo: Catrina Genovese)

(photo: Catrina Genovese)

The floor. . .and this is nothing! (photo: Catrina Genovese)

If I'm planning a show, sometimes I'll put up the pieces in my studio to make sure I have enough for the final installation. I never fine-tune or place things purposely, because I want to keep the process at the gallery completely intuitive. I can't recreate the arrangements, so I don't want to fall in love with the mockup in the studio. This photo shows the preparation for EYE at the Centre for Recent Drawing in London. (photo: Catrina Genovese)

(photo: Catrina Genovese)

(photo: Catrina Genovese)

 

How I get the work to the gallery. . .

Believe it or not, I just stack up the pieces and roll them up in a dropcloth!

To get the work to London I had to roll the pieces up and fit the whole thing in a tube that I checked with my baggage! I was worried that security would make me open it to prove it wasn't a grenade launcher, but things went very smoothly at JFK. They've definitely seen crazier baggage. . .

Et voila! Crossed the Atlantic with nary a crease.

 

How it comes together. . .

In the best of all possible worlds, I get A LOT of space to spread out the pieces before I start to install. At the Islip Art Museum, I had a whole extra gallery!

Everything I need and more. . .just in case!

The process involves lots of time on ladders. And as always, I have my head in the clouds! The Islip installation was a two person, two day, two ladder, two Advil endeavor. Make that four Advil.

Could not do it alone: much thanks to Gene Bahng, Danyel Ferrari and Sean Slemon for amazing help with installation, planning and most of all, SCHLEPPING.!

At Sears Peyton. . .on a 70 degree day in January. . .scary.

Head in the clouds, again.

With Sean's help at Mixed Greens.

I don't make sketches or design the installations ahead of time---it all happens on site. In advance I will take photos of the space, which I hang in the studio, and get the dimensions of the walls and ceiling. By the time I do the install I usually have some idea of what I'll do, but it always turns out different than I imagined.

After all the long hours cutting paper alone in my studio, installing is almost euphoric---so much fun.

 

And then, the celebrations begin. . .

At Smack Mellon with friends. . .

At the Boston Center for the Arts. . .

Pointing things out at the Centre for Recent Drawing in London. . .

Always love a good after-party! Even when certain husbands fall asleep (see feet at right). . .